This thread is devoted to the glorious contributions of Kerala and her people to Indian History and Culture.
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This thread is devoted to the glorious contributions of Kerala and her people to Indian History and Culture.
Click here for a Table of Contents
Article by Padmanabha
[tscii]Kamsa sent his emissary Akrura to Vrindavan. Akrura a true devotee discloses Krishna and Balarama his mission of visit thus:
“Kamsa has bad intention in getting Krishna and Balarama, in Mathura. He has come to know that you are (Krishna) the eighth son of Devaki and hence his enemy. He has arranged a bow festival and has ordered a tusker KUVALAYAPEEDOM (to crush you to death) to be stationed at the entrance of the venue. ….You can reject the invitation of Kamsa” pleaded Akrura.
They are no cowards. They accepted the invitation. Accompanied by Akrura they reached Mathura. As arranged the venue was blocked by Kuvalayapeedom. The mahout signaled to the elephant. Krishna the incarnation of Lord Vishnu, showered blows on it and killed it. The boys pulled out the tusk and marched towards the Palace, and what follows is the slaying of KAMSA.
“Kamsa vadham”, as it is popularly known in histrionics was staged by Krishnendu at Fort Margi recently. Accompanying on the Mizhavu was her husband Dhanaraj.
In a brief interview the couple shared their passion for kootiyattom, the advantages of being in the same field, and how Margi became a turning point in their carrier.
“We do not represent a family of artistes. I was interested in mrudangam. I discontinued the class for my parents could not provide the fee. I joined Kalamandalam and I got admission not for mrudangam but for mizhavu” said Dhanaraj, a native of Ottappalam.
Krishnedu’s father insisted that she should learn Kathakali. “I was interested in bharatanatyam and mohiniyattom. I joined Kalamandalam but was admitted in Kutiyattom” said Krishnendu.
The duo however has no regret and now they feel that destiny have taken them to the right field and the apt centre-Margi.
“The exposure we get here is amazing. The opportunity to stage shows is frequent. The process of learning never stops at Margi. We can devote more time for Choliiyattom. Kalamandalam is time table oriented. We have to concentrate on academic lessons besides our subject of specialization. Kalamanadalam has a syllabus and you cannot overstep the frame work. Margi provides freedom for experimentation. The masters are highly encouraging” they say.
As we all know in Kutiyattom the position of the mizhavu artiste is behind the performer and hence he cannot view the gestures of the artiste, but has to accompany her. This requires tremendous understanding between the performers. It is acquired by practice. “In our case we are free to discuss, share and improvise our performances” they said.
“I would like to perform kaliya mardanam in Nangiarkoothu. We need only few lines from the epics upon which we can build the entire show. Great connoisseurs of kootiyattom some times provide the thread and we work and improvise on it. Our project is Jaydeva’s Ashtapadhi” disclosed Krishendu.
Article by Padmanabha
[tscii]When epigraphists took the estampage of the rock inscription at the Parthivapuram Vishnu temple in erstwhile Vilavancode taluk of Nachinadu, much surprise was in store for them.
This particular inscription was the first ever evidence which revealed that a famous University called Kanthallur Salai akin to Nalanda and the Taxila had existed in Thiruvananthapuram 1200 years ago. Further research led them to the conclusion that the University was functioning on the premises of Valiasalai Mahadevar temple. Surprised
Kanthalur Salai widely known as the Nalanda of the South was looked upon as a model by the people of that time. It was modeled on the educational institution of the Buddhists and the Jains.
So goes the reference in the Ananthapura Varnanam, “KANTHIYUM CHELVAMUM MIKKA KANTHALLUR SALAI KANALAAM, MOONRU KOILUMEN MUNNIL THONDRUM THANTRA MADANGALUM.”
Kanthalur and Parthivapura Salai were established by the Ay King Karunandadakkan in 850 AD and 857 AD respectively.
Each salai provided boarding to 95 chattar(students). The Huzur office inscriptions specify the rules and regulations of the Salai.
Vyakarana, Mimamsa and Paurohitya were the important subjects. The mode of reciting the Vedas was specified in copper plates. Fine and fasting were imposed on students who used abusive language and fought each other. Gambling was considered an offence. Students from 26 Aryan countries came to Kanthalur Salai for higher studies.
The phrase “KANTHALUR SALAI KALAM ARUTHARULI” found in various inscriptions were given different interpretations. The accepted version is that the King is pleased to make an endowment and fix the number of Kalams that is the dinner plates that is number of Brahmins to be fed in the institution.
A decorated elephant was let loose and its route back to the temple formed the terrootyr of Parthivapuram. “Along with Vizhinjam Kanthallur too functioned as an army camp. Srivallabha Perum Panaikal Aviyalandradakkan records say designed arms for Ko Karunandadakkan. Though the Ay kings were Saivites they constructed Vishnu temples a proof for their tolerance.
Kanthallur was destroyed followed by the attacks of Rajendra Chola(1019) Rajadirajan (1046) and Kulothungan (1070)
It was Kavi Mamani Desivinayakam Pillai who established the Kanthallur Salai and Valaiasali Mahadevar temple are one and the same.
The beautiful sculptures in the temple have been white washed. Decorative motifs on the pillar and outer walls of the sanctum sanctorum have been unfinished coat of color to the effect that the craftsmanship is beyond recognition.
The latter day administrators are unaware of even that fact that inscriptions of Rajendra Chola and Ravi Varma are present in a mutilated state in the temple which bear eloquent testimony to its antiquity.
Bhima assuming the form of Raudra, revels madly in Dushasana’s blood. He devours his entrails and smearing with the remains, dances victoriously. He fulfils his vow and binds up his wife Draupadi’s hair with his gory hands.
The drum beats in the back ground echoed the terrible wrath of Bhima. The spectators who witnessed the bloody combat felt a sigh of relief when Dushasana was inexorably killed.
Ettumanoor Kannan enacting the role of Bhima interpreted every Padam through mime and gestures overflowing with rasa and bhava to the effect that the audience felt contented at the victory of good over the evil.
“Initially my parents stood against my wish to learn Kathakali. They thought that it would affect my studies” says Kannan who is at present a doctorate holder researching on Kerala Theatre at the International Centre of Kerala Studies, University of Kerala.
Kannan was trained by Vasu Pisharadi and Mani Madhava Chakyar. Though initially he took up the Pachcha Veshams (hero), he has also donned the role of Ravanan, Narakasuran and Keechakan.
Kannan has staged Macbeth at Pittsburgh blending the western theatre techniques and Kathakali. “It was a fusion of iambic parameter and the mudras” explained Kannan.
The Kathakali actor conveys the dialogue through the mudras and the Shakespearean plays are known for the powerful dialogues and soliloquies delivered by the actor. But Kannan donned the role of Macbeth without dialogue. Behind the stage it was delivered by an actor.
And what about the costumes?
“Though I did not use colorful costumes of Kathakali, the show has tremendous visual impact” he said.
According to him there is no short cuts and comprmise regarding practice. Power and perfection can be achieved only through daily practice.
Kannan has enacted PROF. Madusoodanan Nair’s Agasthya hrudayam in the Kathakali format, for Asianet. He is concerned about the dwindling number of genuine audience for Kathakali. “This is mainly because the lay person is unfamiliar with the mudras. He does not know what is being conveyed. Naturally he chooses some other form of instant entertainment. To create sensible audience I am conducting mudra classes for those who are interested in Kathakali.” He said.
ICKS is regularly conducting appreciation course on performing arts of Kerala. Kannan is one among the Faculty.
He recently staged Govardanoddaranam, effectively employing Natyadarmi. All the characters were performed through Pakarnattam (one actor playing multiple roles).
Kannan has attempted a few post modern performances. “It never gives satisfaction. They all lack depth. That is why I have stopped performing Oedipus. That was a great revelation. In future I will always concentrate only on Kathakali” he said.
[tscii]Sree Padmanabhaswami Temple
Sree Padmanabhaswami Temple is the main architectural landmark of Thiruvananthapuram. The city is named after the presiding deity, Lord Padmanabha who reclines on the Anantha in a conscious slumber.
The name of this temple is mentioned in four Puranas, namely -Padma, Vayu, Brahmanda, and Varaha. The Brahmanda purana devotes a whole chapter to Ananthapura Mahathmyam. The Holy Bhagavatham says that Balarama has visited this temple, bathed in the holy pond and donated 10000 cows to the Brahmins. According to the Kanyakumari edict, Paranthaka Pandyan a contemporary of Kulothunga Chola had gifted 10 golden lamps to this temple.
This temple is of hoary antiquity and has many legends attached to it. Anantha sayana Mahathmya, says that a Tulu Brahmin Sage- Diwakara Muni set up the temple. One day Lord Vishnu appeared before him in the form of a loving child. The sage requested the child to stay with him. The sage gave him all love and cares and tolerated his pranks. One day the child made such nuisance of himself that the sage was greatly annoyed and chastised him. The child vanished at once saying that if the sage wanted to see him, he would have to come to Ananthankad. After a futile search, he reached a forest area near the seacoast and caught the glimpse of the child disappearing into a huge Illuppa tree. The tree fell on the ground and assumed the shape of Mahavishnu, with the head at Thiruvallam and feet at Thrippappur. Over awed the sage pleaded the Lord to condense, in size. The image shrunk to a size three times the length of the sage’s yoga dand. Another Legend is that Lord Vishnu appeared before the saint Vilwamangalam, as a small child. While performing pooja the child put the Saligrama in its mouth. The saint out of rage pushed the child which at once vanished. A divine voice said: “Search, I will be in the Anathankadu.”
The Saint tired after a futile search of this unknown place heard a pulaya woman threatening her child: “Stop crying or else I will throw you at the Ananthankad.” He found the Child and had the vision of the God in all serenity and splendor. The saint plucked a raw mango, and offered it to the Lord. Even today raw mango is the main offering at this temple.
Legends never tally with recorded evidence. The available records include nearly 30 millions palm leaf scrolls, inscriptions and the likes. This is one among the ten qualifications, which enhances the greatness of any temple. One of the palm leaf scrolls shows that the Abhisravana Mandapam was built by the king Kotha Marthanda, after the demise of King Pareekshith.[Admn-:3102- 3042 BC]
Pareekshith ruled his kingdom when the seven planets were in conjunction in Capricorn- a celestial event that takes place only once in 2700 years. The planetary position continues for a century. The next conjunction will take place in 2223 AD and therefore the earlier occurrences were in the years-477Bc and 3177BC. The time frame is correct and by this time, Sree Pamanabha temple has already become an old temple.
This Mahakshetra, is one of the 108 divya kshetrams in the country. The 18 feet idol of Sree Padmanabha is made of 12008 Saligrams (sacred stones) collected from the Gandaki River in Nepal. The Saligrams are bound together using Kadusarkara yogam. A Lotus emerges from HIS navel hence the name Padmanabha. The consecration was conducted by Tarananallur Padmanabharu Parameswararu in 1739 AD, during the reign of Anizham Thirunal Marthanda Varma. The sanctum has the images of 33crore celestials in conceptualized form, besides Brahma, Siva Lakshmi Devi, Bhoomi Devi, sages Markandeya and Bhrigu.
The seven acre temple complex has other shrines of Ganapathi, Hanuman, Garuda, Narasimha, Vysa, Rama-Lakshmana-Sita, Viswaksenan, Sastha, Kshetrapalaka, and Sree Krishna.
Nammalvar, a 9th century poet has composed many hymns in praise of the deity. The copper plate inscription of Mamapalli, (149 ME) refers to Kannan Karupozhan. On the wall of the Sree Krishna shrine is an inscription in Vattezhuthu which says that Kannan Karupozhan has donated land for setting the shrine.
The temple was destroyed in a fire 1686. In 1729 Marthanda Varma reconstructed it. In 1750, he shifted the capital from Padmanabhapuram to Thiruvananthapuram and built a palace near the temple. He dedicated himself and his possessions to the deity (Trupaddidanam) and assumed the title of Padmanabhadasa. Accordingly, the deity owns the kingdom, and the king was the mere executor of the trust.
The Temple overlooks the greenish pond –Padmatheertham. On the east entrance is seen a seven storey tower- the gopuram that pierces the skyline. The entrance beneath the tower leads to the Natakasala, built in the Vijayanagara style of architecture. Walk past this corridor supported by elaborately carved balustrade of pillars, would lead to oblong seevelipura through which, the idols on special conveyances are taken for circumambulations. Built in the Dravidian, Pallava and the Pandya styles, 365 equitably carved granite pillars support this corridor. The rows of granite and stone ceiling above are decorated with sculptures. Every pillar has the figure of a girl bearing a lamp in the palms of her hands joined together and raised above the waist.
The Kulasekhara Mandapam carries a wealth of intricate granite sculptures. It is here that, Sanskrit scholars and priests chant Vedas during Murajapam, held once in every six years. The ottakkal mandapam facing the main idol is a single slab of granite, which is 2.5 ft thick and 20 ft square. 4000stone artisans, 8000 laborers and 100 elephants worked for a period of 6 months to construct the seevelipura. Amazing!!
The April showers were severe. The festival had to be conducted. There was no corridor, to take the procession without getting wet. The then Maharaja, Anizham Tirunal Marthanda Varma, decided to construct a corridor before the next festival, which is hardly six months away. He had the plans drawn by the architect Thycaud Vishnu Tharathan Nampoothiri. Meanwhile, sculptors were brought from Tirunelveli, Thanjavur and other parts of Kerala and Tamil Nadu. Then king deployed 1000 sculptors 1500 helpers on each side. Imagine there was no machinery available during those days. Thousands were appointed to provide food and water. Before the next festival the corridor was erected.
But, the temple premises were littered with stones and debris. The Maharaja was informed that it was not pragmatic to remove the debris within two days. He observed the spot. He pulled his uthareeyam, spread it, the collected the debris, bundled it, and carried it on his shoulders and unloaded it at a spot outside the temple, setting an example. The laborers and the public, in a joint effort cleared the temple premises within two days.
The major festivals are in March-April and in October–November, each of which concludes with the procession, Aaraatu. Every six years the temple is adorned with one million lamps, in connection with the ceremony called Laksha Deepam.
His Highness’ daily visit to the temple, as Sree Padmanabhadasa, takes him through the salutations of his people, across the main extent of the main city.
[tscii]Article by Padmanabha
FAST and festivals are an intrinsic part of India’s cultural fabric. Over centuries women observed many fasts to propitiate destiny and gods. The Malayalam month Dhanu witnesses a significant that women follow for their marital bliss. This festival called Thiruvathira falls on January 3 next year. Very Happy
It always coincides with the full moon in Dhanu. The celebration is as old as Sangam AGE. Stanza eleven of Paripaadal by Nallanduvanar describes the wading damsels in Vaigai on the full moon day in Dhanu. The poet also describes how the women propitiate the gods for a loving husband.
The legend of Thiruvathira is related to Lord Siva and the consequences of Dakshayagam. Another legend is connected with Parvathi Parinayam. People generally believe that Dhanu is an inauspicious month may be of bleak weather but many women do observe penance for Thiruvathira.
The entire worship signifies the desire that the husband live a long and healthy life. The women abstain from food as an offering in exchange for their prayers being granted says Narayani Amma, an octogenarian. This festival is recreated in plenty of Malayalam films and is portrayed as an extremely romantic ritual that strengthens the bond between husband and wife.
“IN Dhanu, the climate is cool. Instead of resting in the arms of Morpheus, women devotees in groups take a dip in still water” said Santhamma.
On the eve of Thiruvathira a suitable place in the fore court is cleaned and smeared with cow dung. Paddy husk is heaped and lit. Chena, cheru kizhangu, and kaya (raw banana) are roasted till soft. They are mashed and mixed with jaggery and grated coconut, sliced sugar cane diced plantains, and kalkandum candies) This mixture called ettengadi is offered before serving to the women who have assembled to paint their hands and feet with mayilanji (mehandi) she said.
This assemblage provides an opportunity to escape from the chores that binds them down to everyday routine. It offers a forum to sing dance and to gossip.
In a tray traditional attire (need not be new) vaal kannadi, kum kum dasapushpangal and collyrium are displayed. Women decorate themselves and stage Thiruvathirakali.
Next day after the ritualistic bath at dawn, they get themselves dressed in the traditional attire, emphasize eyes and brows with collyrium, deck with jewels and visit the temple of Siva. Of course they fast. To celebrate without food, might not be conducive for enjoyment. Still they engage in singing and dancing.” Santhamma remembers.
Swati Tirunal. Irayimmen Thampi, and his daughter Kutti kunju thankachi have composed plenty of thiuvathira pattu.
In the journey from tablets to tabloids, cave dwellings to computer screens written words have traversed diverse mediums and has brought to life countless stories-factual and fictitious.
The Orient Research Institute and Manuscript Library in the Kerala University Campus, in Karaivattom is a treasure house of many such stories, chronicled on palm leaves on agartuk, on bhujapatra, and on copper plates.
The Maharajas of Travancore were great patrons of art and literature and they themselves were experts in some field or other-Kulasekhara Alwar, Kulasekhara Varma, Dharma Raja, Swati TIRUNAL AND Ayilyam Tirunal for instance.
It was Ayilyam Tirunal who ordered the collection of Palm leaves, and other manuscripts. The attempt brought to light Swapnavasavadatta, a play penned by Bhasa unearthed from Manalikkara Madom in Padmanabhapuram. The 13 plays of Bhasa were given up as lost. Sree Moolam Tirunal was responsible for the spread of Oriental Literature. Bhaktimanjari, by Swati Tirunal was published in 1903 and was popular in Germany by 1907! Thanks to T. Ganapathi Sastry.
A visit to the ORI & ML provides a visual feast of time honored manuscripts and illustrations. Here are a few highlights: :o
Devi Mahatmyam:
It is a garland of palm leaves- a rich tribute to the dexterity of our ancestors. It consists of a string of fifteen beads, each made of inseparable palm leaves pressed against two ingeniously worked out knots. It has a beautiful wooden case too.
Ragarthadeepika:
A bundle of 191 leaves is done on exceptionally long palm leaves (30”).
SKANDAPURANAM: (TAMIL)
It has 611 leaves, AND IT MEASURES 2X2 ft. The name of the author is unknown.
Devi mahatmyam 11th chapter: it is the smallest manuscript, known (2”x1”).
Arthasastra Bhasahvakya: a commentary on Arthasastra, in Malayalam and is 600 years old.
Makaraprakarna: a manuscript on black magic has 40 lines crammed in single folio. This could be a deliberate attempt to make it illegible, to the lay man.
Arya Manju sree moola kalpam: is a tantric work on Buddhism, unearthed from Manalikkara Madom. The script is in Devanagiri, written with special resinous ink. It consists of 307 palm leaves. Professor Sylvain Levi of Sorbonne was entrusted with the task of correcting grammatical errors. Levi had come across, only the Chinese version of it and requested Dr.Ganapathi Sastri, to publish the original version of it. Pandit K P Jayasval, the famous historian extols the publication. It helped to reconstruct a period of Indian Imperial history from 600 BC TO 700 AD.
Chitra Ramayana & Chitra Mahabharata: is a rare and prestigious possession. A former Indian Ambassador to Indonesia donated two valuable illustrated manuscripts to the library. They are more than 500 years old. The former is the representation of Ramayana in 359 condensed sequences. Each folio is 13.5” long and 3” wide. Battle scenes occupy 50 percent of the work. These illustrations effectively communicate the ideas of the artist. The artist has differentiated Rama from Lakshmana, by adorning his head gear with a peacock feather. The apparel and the ornaments resemble that of kutiyattam. Ravana smiles with an air of vengeance while chopping off the wings of Jatayu. The anger in the eyes of the bird is beyond description. The effect of the forest is brought out through a few bold strokes. Wild animals and bird are found in “the dense forest”.
The author is unknown. In the concluding stanza the author says that he is the disciple of a Brahmin, called Balakavi, and did this work as per the direction of the preceptor.
“Most of the manuscripts are in Grantha, Nandinagiri, Vattezhuthu, and Malayanma. Grantha is the oldest South Indian script” says DR. Visalakshi Director of ORI & ML. Most of the manuscripts are supported by/strengthened by wooden planks. Ramayana scrolls are supported by ivory planks, with exquisite carvings of Anathasayanam as seen in the temples of Sree Padmanabha(Trivandrum) and Adi kesava Perumal (Thiruvattar). “The institute has 65,000 manuscripts, out of which 56,000 works in 30,000 codices are catalogued. 35060 Sanskrit manuscripts are catalogued in seven volumes” informs the Director.
Balaramapuram is a small township 13 kms from Thiruvananthapuram, which is known for its kasavu work on off white sarees and dhotis.
This town was founded in the year 1810 AD by the Travancore Royalty with the idea of developing it into a commercial centre. MERCHANTS, weavers, and craftsmen were invited to settle in this place. At present a colony of traditional weavers numbering about 1000 flourishes here.
Entering the town, a steady rat-a-tat of the shuttle moving to and fro on the looms greets the ears. Inside the large asbestos roofed shed, weavers stand waist deep in pits dug in the ground which is the specialty of Balaramapuram. You will find different weaves ranging from thin shimmering gold borders to exquisite brocades, with mango, peacock, parrot and floral motifs.
The kasavu design saree ranges from 1000 to 25,000, depending on the quality and quantity of the zari that has gone into its making. Kasavu is brought from Jaipur. The cost of genuine one is rupees 800 for 500 yards. A pure kasavu is made from silk thread on which 24 carrot gold is plated. Thus these materials have resale value.
The design takes about ten days to be woven on the fabric by hand. A wooden seal with the required design is used to mark the warp of the saree, with a dye. Then it is woven around leaving the design blank. The design is then hand woven separately using kasavu.
Unfortunately for various reasons, this rich weaving tradition is on the decline. According to Satyan, who runs a loom, the co-operative movement is not strong enough to run the loom. Also non-availability of quality yarns exploitation of middlemen, competition from power looms and paltry wages force the weavers to dilute the quality of the produce.
The youngsters here have drifted away from the profession to unskilled and lucrative jobs. Supporting the trend, the elders say, “Whatever happens I won’t let my children take up weaving. It is a profession that has no future. Our generation was force to satisfy themselves with the available resources. There was no other option and we are too old to learn new skills now.”
Viswanathan bagged the Presidents award for the best weave. The award winning saree he says took 15 days to weave. “These works demands patience” he said.
As part of diversification they weave bed spreads, pillow covers, towels, besides the traditional saree and dhoti.
KOYIKKAL PALACE: Centuries old koyikkal palace in Nedumangad near Thiruvananthapuram houses Kerala’s first numismatic study centre and folk lore museum.
History: The palace is believed to be the HQ of the perakathaivazhi, one of the branches of the Thruppappur the rulers of Travancore. Udayamarthanda Varma the ruler of Venad was adopted from Perakathaivazhi.
It was in this palace that Umayammarani took refugee when her son Aditya Varma was poisoned and the confederates suffocated the other princes. (There are other versions to this incident as well.) As there was no male member, Umayammarani became the Regent.
Finding the palace unsafe she moved to Koyikkal Palace. She invited Kerala Varma from Kottayam, and related to the Travancore royal family.
When her only son attained 16, the new sovereign had no new difficulty in governing. The family adopted two male and two females from Kolathunad.
Numismatic museum:_
In 1979, the Archaeology department, took over the palace, and was in a dilapidated condition. It was converted into a numismatic museum in 1990.
The collections:- Due to inadequate safety measures the visitors finds only the photographs of very old coins. Few Roman coins displayed here reveal, the socio cultural history of our ancestors.
From the third century BC onwards, brisk trade was carried out between India and the West. As a result of heavy inflow of Roman coins, they found way to all parts of the country. Roman Denarius(SILVER) and Aureus (GOLD) were circulated in Kerala. As gold was rare and costly people hoarded them.
Numerous coins were unearthed from Kottaym in 1842, Iyyal near Vadakkancherry in 1945, kumbalam in 1974, and valluvally in 1983. The first Indian metal currency that came into circulation after the end of the barter system was part of the Iyyal hoard.
The Roman Gold coins cover the periods of Emperors, who Ruled Rome, from AD14 TO AD 180-NAMELY-Tibenius, Claudius, Nero, Vespanian, Titus, Dominitier, Nerva, Trojan, Hadrianus, Antonius Pius, and Marcus Aurilius.
Muziris :_it is one of the ancient sea ports of Malabar. Pliny described it as the Premium Emporium India. Exports from this port were pepper, pearls, and ivory, silk, spikenard, precious stones, pottery, and glass wares.
The first reference of a minted coin called Rasi was minted and circulated through out the kingdom that spanned from capecomorin to gokarnam.
According to Sarojini Amma, the numismatist, the half chukram which was circulated in Kerala is the smallest coin in the world. Here the numismatics does not get the significance it deserves and hence a lot of information regarding history remains unknown she added.
The earliest silver coinage of ancient India is named as punch marked coins. These coins have uneven edges. It is for adjusting the actual weight the edges was clipped. It is believed that these coins dates posterior to Indo-Scythic dynasties in Bactira.
The chamun huzuri hoard in Kabul clarified that these punch marked coins were actually in currency in the 5th century BC.Buddhist literatures and Jataka tales refer to these coins. All the imperial coins conform to one weight. The coins that appear in fresh in mint conditions and bear no wear and tear weighs 51 to 54 grains.
The Lekshmi Varaha Panam and Parvathi Rupah too are displayed here. These tow coins were issued by Rani PARVATHI Bayi aunt of Swati Tirunal (1815-1829). As per the agreement the Travancore rulers were could issue only half rupee. Parvathi rupah was of one rupee denomination and hence banned. Rama Varma coin issued by Ayilyam Tirunal the first machine mint coin too finds a place in this palace.
The palace has in its display the weights and measures, namely the tholas, and different types of balances. Utensils of different shapes sizes belonging to different periods offer interesting viewing. Hurricane lamps, tholppava, kummatti, jewel boxes, life size images of thullal forms. Musical instruments like chandravalayam used in Ramakatha pattu, nanthuni, potters wheel, carts, antiques from Vellanad temple the anklet of the oracle reveal the customs, beliefs, life styles, and entertainment aspects of our ancestors.
An Article by Padmanabha: KARNABHARAM
“My best generals Bhishma and Drona have been killed in the battle. Take their place, for I believe you are stronger than them” said Duryodana, to Karna.
Karna appeared in the centre of the battle field-Kurushetra. He blew the conch and his charioteer Shalya proceeded with confidence.
Karna, the mighty warrior was suddenly disturbed. Why?
Chandradasan the director of the play Karnabharam analyzes the reason for the crest fallen face of Karna, and has successfully related it to a man who has lost his identity. The futile inner search makes him more miserable.
“What business a charioteer’s son has in the court?” Kripacharya’s words of insult echoed in his mind. This humiliation literally shook Karna. Duryodana his bosom friend immediately crowned him as the King of Anga. On the 16th day of the battle, the question of being a non-Kshatriya and the once raised question of his social status creates raging waves.
He is the son of the Pandava’s mother Kunthi, born to the Sun. Kunthi employs a mantra and the Sun robbed Kunthi of her virgin. Ashamed she put the child in a box and floated in the stream of Aswa. It reached the hands of Radha of the charioteer clan.
Who am I-son of Kunthi and the Sun or Radha and Suta? This question squeezes his heart. His throat choked. Karna is worried of his birth, his caste and the sarcasm he experienced due to this. Shalyar notices Karna’s angst. With the charisma of a tragic hero, Karna shares his agony with Shalya.
The incident of Parasurama comes to his mind. “How can a non Ksathriya learn archery?” asked the Rama with the axe. He frankly discloses that he is a suta putra. When Parasurama came to know of his birth he curses him saying that the astra he gave would be useless in times of dire need.
When his real mother pleads him to join the Pandavas he refuses. This act of disobeying mother too haunts him. He becomes energetic for a moment. But the thought of his father warning him the plot of Indira, flashes in. When born he had his ears shine with ornaments besides an armor of gold. “Your ornaments are like elixir and you will have deathless years. Hence do not spare them” warned his father, the Sun.
Undeterred by the persistent pleadings, he donates his ornaments to Indira, the father of Arjuna, his adversary and stood on his principle of charity ignoring its consequence.
Then he refuses to accept a weapon which can destroy one of the Pandavas. That was his magnanimity.
“This story written long ago has its relevance even today. It was staged in 1990, when Mandal commission report and its consequences were national issues. Dalit consciousness was at its peak then. This play thus enjoys contemporary relevance” said Chandrasan the director.
“Lokadarmi our theatre based at Kochi had staged plenty of Malayalam plays and English plays like the Tempest and Macbeth. I wanted to do a Sanskrit play. I read many plays, and Karnaharam by Bhasa influenced me. It is the 302nd stage” he said.
Stanislavsky and his method of acting have influenced me a lot. Accordingly I have given the freedom to the actor to imagine certain incidents that had tormented him, while performing, to bring out his emotion.”
“The great quality of charity becomes his terminator. The Sun is the first God worshipped by man, hence tribal God. Karna is the brilliant son of the ruby rayed Sun. How can he discard the element of the Sun in him? It is this energy that keeps him pulsating. This image of burning sun is the life of this play. Karna holds the effigy representing the Sun, and towards the end he burns and performs the guruthi. He tears the kavacha & kundala, and his emotions ebb and rise. He had no other way but to accept the harsh reality.
A team of Brahmins are always positioned on the stage watching and plotting strategies, to defeat Karna.
The director has wisely incorporated classical and folk forms. While essaying Karna to give more emphasis, red light and tribal instruments were used. On the contrary for Indira, blue color and classical instruments were employed.
Karnabharam, an adaptation of Bhasa’s Sanskrit play was recently staged in connection with National Theatre festival -2006, organized by Sarang. (733 WORDS)